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Poster: bbbrew Date: Aug 11, 2010 7:28am
Forum: GratefulDead Subject: Re: Top 5 songs!

Yes, Cliff. Green is the Colour is a top 5 for me too. Along with CWTAE as a suite. I've been collecting every version I can find for the past month.

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Poster: Cliff Hucker Date: Aug 11, 2010 7:50am
Forum: GratefulDead Subject: Re: Top 5 songs!

Have you found a better performance of the song than 9/16/70?

I have listened to it a thousand times and still get goosebumps. Gilmour just nails it...

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Poster: bbbrew Date: Aug 11, 2010 9:20am
Forum: GratefulDead Subject: Re: Top 5 songs!

That 9-16 is a sweet and strong version.

Ive been mostly listening to 11-11-70, Pictures of Pink Floyd. David's vocals are just beautiful.

Here are the notes:

The "Pictures Of Pink Floyd" Restoration Project

This is IMO the most special Pink Floyd concert experience ever recorded. The quality and rarity of "The Librest Spacement Monitor" justifies all the hype, and at last you can hear it in the best possible manner.

First of all, something for you to consider:

This was a cooperative effort, requiring the talents and input of several people of different nationalities. The material presented is of sufficient rarity to warrant the following statements:

Don't even THINK of auctioning or selling this material for your own monetary gain. Internet auctions will be monitored both in Europe and in the United States. We'll know what to do about that if it happens, the rest is up to you. The message is clear and simple: It's free, keep it that way, we mean what we say. And... don't shoot the messenger.

It is strongly recommended that you keep all the files intact when trading this material to other groups. Feel free to add your own comments.

Please do not encode to lossy sources when trading this material.

Lastly, a great thank you to Mr. (Herr) Peter D., who brought the albums across the Atlantic and back, made it both ways with both his sanity and his records intact, and who has granted me permission to post this material on his behalf. Also thanks to K.F. and E.D. for tea and sympathy.

Technical Data:

Records were played on a Technics Sl-1200MK2 turntable, using a Layla 3G console directly into a Dell computer. There was no sound card used during the recording process (the Layla generates a virtual card). Music recording was directly processed by Sound Forge 6.0. Too much high-quality percussion existed within the recordings to use a vinyl restoration suite. A digital spot remover was used manually to remove the larger clicks and crackles, then an automatic remover was used afterwards. Results were real-time compared with the raw wav file, both by monitoring from the computer, and by auditioning a test-pressing on a home-theatre system. Unfortunately, there was a major flaw found in the vinyl on side one at around the 5:15 mark. That was 'jiggled' as much as possible after rerecording the entire side and starting over.

Side Four (Pictures Vol 2, Side Two) presented special problems. As is generally known, the recording of Atom Hear Mother starts out fine, but gradually gets faster and faster. A map was made by consensus, of the many pitch changes relative to the beginning of the piece. Unfortunately, it isn't just a linear speed change, where it would be easy to "just slow it down". The pitch of known musical interludes was manually compared and adjusted via the Sound Forge "pitch bend" and "pitch shift" functions. It quickly got confusing and very complicated to do all the changes relative to one another, and about 15 seconds could not be totally corrected. After a while, keeping any adherance to any form of zero crossing had to be discarded. This is because the pitch shift did not always occur during a zero crossing, and nothing could be done about it. Sometimes you will hear a zero-crossing noise during the speed corrections. The end product is not perfect, no one involved was totally happy with it. To do better would have required starting over again, and it might not be any better after finishing. It is listenable to, however and is a major improvement over the original recording. The very slight pitch change of the end relative to the beginning of Atom Heart Mother *may* be part of the original performance. This is a different version of this song than the version on Volume 1!

For you sticklers about original recordings, the original untouched fourth side is presented as track four

A small amount of noise reduction was used on all record sides. Fortunately, the lowest level of the sound recording is way above the lowest level of surface noise. A sample was made of "dead space", both before and after the recording. The lower volume level was used to remove noise. No EQ of any sort was used.

Finally, the end results were approved by consensus.

Now, on to the Music!

*Play this music as loud as possible!* To hell with the neighbors! During the "Embryo" portion, I want to see your cat explode!


At a minimum, the announcer's voice should be audible over any ambient room noise.

There has been some lively discussion about what the announcer is saying in the beginning of The Librest Spacement Monitor. He is actually introducing one "Nicholas Mason".

What IS "The Librest Spacement Monitor?" It's *not* a different version of "The Embryo", it is a seperate, unique piece all on its own. Whether that was planned, or improvised on the spot is not part of the equation. How is that possible? Artists often incorporate pieces of their existing songs into new projects. Pink Floyd is no exception. If you have ever heard "The Man" or "The Journey", you know that song titles have been changed and portions put into other pieces. Need an example? OK - "The Violent Sequence" became "Us and Them".

The other titles are also rather interesting. Everybody seems to be singing in tune, even Roger seems to be enjoying himself.


01. The Librest Spacement Monitor [21:16]
02. Fat Old Sun [13:29]
03. Blues [6:13]
04. Atom Heart Mother - excerpt [3:02]

01. Green Is The Colour [3:52]
02. A Saucerful Of Secrets [17:48]
03. Atom Heart Mother (altered) [19:03]
04. Atom Heart Mother (original) [15:16]

Please post comments, we would all like to hear them. By the request of Mr. (Herr) D., no artwork is available. Please check the many available Pink Floyd ROIO sites for artwork.

Lastly, we don't know any better than you do where some of this material was recorded. Where do you think? We would like to know. Marbal's Offenbach torrent solved some of the date questions, but not all.

Engineered by Doinker in his "studio" from the original vinyl, all subsequent actions done in a group meeting with other crazy people during the week of March 6, 2006.

Enjoy! Don't forget, selling has consequences you don't want to deal with!

A DoinkerTape

Also, 7-16-70 is very special. Heartfelt and powerful.

Pink Floyd
Paris Cinema
Lower Regent Street, London, UK
July 16th, 1970


Lineage: SBD Reels [Master] > CDR > WAV > FLAC [44 KHz / 16 Bit Stereo]
Quality: EX+
Length: 58 min 42 sec
Source: Soundboard recording


01. The Embryo
02. Fat Old Sun
03. Green Is The Colour
04. Careful With That Axe, Eugene
05. If
06. Atom Heart Mother

I just love this era of Pink Floyd. Never been able to get enough.

Oh, and this one has the seagulls and waves. A big favotite for me:

Pink Floyd Mega-rare restored vinyl "High Time" Rome Italy 1968-05-06 and London 1969-05-12 - Features "The Narrow Way" with vocals, superb sound!
Side one features three tunes from the "Rome Goes Pop! program(me): Astronomie Domine, Set The Controls For The Heart Of The Sun, and Interstellar Overdrive. The first two tracks are sourced from a VPRO-FM radio rebroadcast on 1988-04-29. The third track is an audio rip from the television broadcast on ARD TV (West Germany) from 1968-05-18. The quality is simply stunning.

Side two is pre-FM sourced from the program(me) John Peel's Night Ride: Granchester Meadows (Daybreak), Cymbaline (Nightmare), Green Is The Colour (The Beginning/Beset By Creatures Of The Deep), and The Narrow Way. The last track is of mention as it contains vocals. For those of you unfamiliar with the extra titles, these tracks were performed on the road during 1969 as part of a concept piece "The Man and The Journey". The versions presented here are notable for their differences from the normal concert routine

This post was modified by bbbrew on 2010-08-11 16:20:04